Shakespeare assigns the character of Julius Caesar the dual role of warning audience members about arrogance and of building the characters of Brutus and Cassius. He is a tragic hero with the fatal flaw of his own arrogance. This flaw is apparent from the play's beginning when he, in the third person, denounces any who oppose him (such as a Soothsayer) as having "Ne'er look'd but on my back" (1. 2. 986). Caesar does not listen to any criticism, even from a fortune telling Soothsayer. Any individual educated in Roman mythology know the foolishness in failing to regard the words of prophecy, yet Caesar rejects them anyway, implying that he is above the forces of Fate. The idea that his status above fate is only implied is also important, for it brings into question the choice of Brutus and Cassius to overthrow him. Shakespeare gives the audience reasons to believe Caesar may have been noble enough to be justified in his arrogance, such as his preachings against cowardliness who "die many times before their death" (1. 2. 1008). Caesar's regard for bravery can be considered noble, which contrasts with his arrogance. While the juxtaposition of nobility and tyranny does exist in Caesar's character; ultimately the tyrannical side of him wins and he suffers the consequences. Despite the warning signs that he knew of a plot against him, such as the soothsayer and his references to a noble death, Caesar confidently faces the conspirators head on. Caesar's noble arrogance meant that a noble death was far more preferable than a cowardly life. Brutus and Cassius take advantage of this belief by stabbing him to death. Although, he dies stunned that Brutus could have done such a thing. His arrogance blinded him to the fact that even noble Brutus could have taken part in such a plot. Ultimately, his death shows the audience that while confidence is noble, it can be taken too far and others will take advantage of it; however, his dedication to courage and occasional nobility also develop the characters of Brutus and Cassius, opening the option to view them as power hungry murders, not defenders of Roman peace.
Shakespeare assigns the character of Julius Caesar the dual role of warning audience members about arrogance and of building the characters of Brutus and Cassius. He is a tragic hero with the fatal flaw of his own arrogance. This flaw is apparent from the play's beginning when he, in the third person, denounces any who oppose him (such as a Soothsayer) as having "Ne'er look'd but on my back" (1. 2. 986). Caesar does not listen to any criticism, even from a fortune telling Soothsayer. Any individual educated in Roman mythology know the foolishness in failing to regard the words of prophecy, yet Caesar rejects them anyway, implying that he is above the forces of Fate. The idea that his status above fate is only implied is also important, for it brings into question the choice of Brutus and Cassius to overthrow him. Shakespeare gives the audience reasons to believe Caesar may have been noble enough to be justified in his arrogance, such as his preachings against cowardliness who "die many times before their death" (1. 2. 1008). Caesar's regard for bravery can be considered noble, which contrasts with his arrogance. While the juxtaposition of nobility and tyranny does exist in Caesar's character; ultimately the tyrannical side of him wins and he suffers the consequences. Despite the warning signs that he knew of a plot against him, such as the soothsayer and his references to a noble death, Caesar confidently faces the conspirators head on. Caesar's noble arrogance meant that a noble death was far more preferable than a cowardly life. Brutus and Cassius take advantage of this belief by stabbing him to death. Although, he dies stunned that Brutus could have done such a thing. His arrogance blinded him to the fact that even noble Brutus could have taken part in such a plot. Ultimately, his death shows the audience that while confidence is noble, it can be taken too far and others will take advantage of it; however, his dedication to courage and occasional nobility also develop the characters of Brutus and Cassius, opening the option to view them as power hungry murders, not defenders of Roman peace.